Before we get into the most obvious thing about the upcoming movies for 2019 – which is, Marvel is going to make a lot of money, again – can we first look forward to some great filmmakers who’ll be doing exactly what they want to do?

Like Martin Scorsese, whose Netflix-backed “The Irishman” reunites our greatest living filmmaker with old cronies Robert De Niro, Joe Pesci and Harvey Keitel, and tosses Al Pacino into the bargain. It’s a mob epic that spans decades, with a lot of digital de-aging, at a price tag that’s been estimated somewhere between $140 and $175 million.

Or Quentin Tarantino, who will apply his always distinctive, film-geek sensibility to that most notorious of showbiz-adjacent crimes, the Manson Murders. “Once Upon a Time in Hollywood” boasts its own superstar cast of Brad Pitt, Leonardo DiCaprio, Margot Robbie and, uh, Al Pacino.

We can be fairly certain, too, that these won’t be the only filmmakers whose personal touch and artistic smarts make the movies worth going to.

But now it’s time to talk about Marvel. I don’t mean for that transition to imply that the comic book company turned Master of Hollywood doesn’t make good films. But jeez, another year when Disney’s Marvel Studios is certain to conquer the box office?

Well, if Brie Larson as “Captain Marvel” does for female superheroes what “Black Panther” did for African ones last year, and “Avengers: Endgame” wraps up the current phase of Marvel Cinematic Universe mythmaking as satisfyingly as it damn well better, even the snootiest cineaste should have very little problem with that.

In other Marvel news, MCU-in-all-but-studio-ownership “Spider-Man: Far from Home” will be the first to show us how characters like Tom Holland’s Peter Parker will go on after getting vaporized in “Avengers: Infinity War.” And two movies made this year, “Dark Phoenix” and “The New Mutants,” will drop before Disney gobbles up Fox’s film properties and incorporates the X-Men franchise into the MCU.

Over at Warner Bros.’ rival DC superhero factory, they mainly seem to be wishing for some good “Aquaman” spillover business in 2019. With their most anticipated film in production, “Wonder Woman 1984,” rescheduled into 2020, all they’re floating next year are the kid-aimed “Shazam!” and a “Joker” movie with Joaquin Phoenix as the oft-portrayed Bat-villain. Meanwhile, the studio hopes its animated satire (“The LEGO Movie 2: The Second Part”) and giant monster (“Godzilla: King of the Monsters”) universes get some super-style attention.

Back at world-devouring Disney, the agenda for its “real” movie division seems to be regurgitating the studio’s cartoon classics in heavily CG’d, “live-action” format. No less than three titles – “Dumbo”(from Tim Burton, whose 2010 “Alice in Wonderland” started this lucratively dubious trend), “The Lion King” and “Aladdin” (Will Smith assures us his Genie will be blue, sometimes) – get that treatment next year.

Cartoons that know they’re animated will be sequels, “Toy Story 4” and “Frozen 2.” And there’s a “Star Wars: Episode IX” for anyone left who cares.

It’s not just Disney that will be leaning on its proven IP all year. Sequels, reboots, spinoffs and rehashes of all kinds return to the release schedule like they have for years, and that’s because some of them will likely command most of 2019’s upper box-office slots – repetition being Hollywood’s favorite theme, they have for years.

Off-brand comic book movies include a new “Hellboy” with “Stranger Things” star David Harbour in the demon hero role; “Men in Black International,” with Chris Hemsworth and Tessa Thompson as the new alien control agents; and a threatened “Kingsman 3.” “Alita: Battle Angel” will at least be based on a Japanese manga and anime series we haven’t seen done live-action before. And the original “Brightburn” turns a horrific twist on Superman-type mythology.

Speaking of the intersection between comic book stuff and horror, M. Night Shyamalan will unleash “Glass,” his simultaneous sequel to both “Unbreakable” and “Split.” As for series that, considering their strained relationship to anything resembling reality, might as well have come from comic books but didn’t, there’ll be Fast & Furious spinoff “Hobbs and Shaw,” “John Wick: Chapter 3” and “Zombieland 2.”

Yet another “Terminator” something-or-other is also in the offing, as is “Shaft” again and an animated “Secret Life of Pets 2.”

By now, you may well be asking if there’s going to be anything new for a realistic grown-up person to watch next year. Well, beside the auteurist treats mentioned early on, there will be history lessons, biopics and literary adaptations that could stimulate the mind.

World War II aqua-buffs will have a choice between Hanks’ convoy thriller “Greyhound” and Roland Emmerich’s recreation of the Battle of “Midway.” Sam Rockwell’s a racist and Taraji P. Henson a civil rights activist in the true desegregation drama “The Best of Enemies.” Seth Rogen is Walter Cronkite (!) reporting “Newsflash’s” JFK assassination, while “Fair and Balanced” covers the sexual harassment mess at Fox News (Charlize Theron as Megyn Kelly, Nicole Kidman as Gretchen Carlson).

“Hotel Mumbai” will dramatize the recent terrorist attacks in the Indian city.

On the biopic front, we’ve got Taron Egerton doing Elton John in “Rocketman,” Kristen Stewart as the persecuted actress Jean Seberg in “Against All Enemies,” Tom Hardy perfectly cast as Al Capone in “Fonzo,” “Radioactive” about the scientific Curies, “Fighting with My Family” about pro wrestler Paige, the self-explanatory “Tolkien,” “The Glorias” (Steinem), “Harriett” (Tubman) and, what sounds like the coolest idea in this genre, “Wild Nights with Emily” (that would be Dickinson).

In one of those strange twining coincidences that sometimes hit release schedules, there will not only be a “Lamborghini” movie next year, but “Ford v. Ferrari” too.

2019 books to film include the bestseller “The Goldfinch” with Kidman too, and an adaptation of J.M. Coetzee’s classic political allegory “Waiting for the Barbarians.” As for that T.S. Eliot guy, his verse will be represented in a movie version of the musical “Cats.”